#crucial for my character development

[prettypinkbubbless]

I am this close 🤏 to becoming a lesbian I think.

[icannothink123]

Just me but I dislike how often times thorn the “NOO DONT HURT THE BABY” princess, when betraying and stabbing her is critical to understanding her character. I understand she’s relatable and betrayal/abuse are harsh topics but my lord is it so demonize within the fandom.

Actually often times hurting princesses some may care about is demonized too when it’s critical understanding them.

[muscari-melpomene]

Y’all do know that character death happens and is done for a reason and a lot of times those reasons are valid, yeah? Like y’all understand that “this character’s death made me sad” and “this character’s death was important to the plot and held meaning and was done with intention” can coexist, yeah? We know that bury your gays did Not apply here, Yeah????

[mariocki]

Honor Blackman guest stars as art expert Syd Lewis in Saber of London: Deep in the Heart of Chelsea (1.3, NBC, 1957)

[lovinglin]

GOOD MORNIGN. Merry christmas and happy holidays to y'all 🫶💖

[ro-bug]

I like how Luva started out as this skinny, mean girl twink in her very first sketch

And now whenever I draw her she’s getting progressively BUFFER

Her ass is getting bigger too lmao

[olberic]

see the thing is. arise does have a finished story. it clearly wraps up the plot it set out to tell. its not outside the realm of standard tales storylines either in the whole “going to another planet” and “worldly energy” and “theres aliens” plotlines. the problem is just that its centrist (like vesperia and phantasia) and that a lot of the character relationships suck (graces). just since arise does weird plot AND centrism AND badly written pairs it gets a worse rep than other tales games. which i do think is ultimately unfair. most tales games do kinda suck a little bit its just that this site likes abyss so much which is strong in all the areas this one is weak. so yknow.

[lesamis]

have you watched the second season of shadow and bone? what are your thoughts?

oof, anon, i hope (and honestly kind of expect) that my opinion on this isn't given any weight at all. i'm genuinely not invested enough in the books or the show or the fandom to really have the right to voice much of an Opinion, but i did watch season 2! it made me feel a million different ways, but mostly it didn't make me feel anything, which still bothers me.

there's a special kind of frustration to watching something that you're convinced has the necessary ingredients for a good show, but simply doesn't land with you. i talked my long-suffering friend's ear off trying to figure out what that was as we were watching. what i ended up understanding is that if a studio wants to target as broad an audience as possible with an adaptation, they have literally no incentive to prioritize depth over breadth. combining two fundamentally different book series - both of which come with very large character casts and a ton of plot baggage! - was always going to be a bad choice from a storytelling perspective. the second season kind of drove home to me just how far they were taking the commitment to trying to preserve every storybeat despite having a cast far too large to do heavier plotlines justice, and having a timeline that doesn't accommodate some of the slower developments that made emotional beats land in the books.

what you end up with is a very well-designed (oh the embroidery!) and well-cast (daisy head emmy when!) show that dips into complex and worthwhile characters in the most shallow way possible. inej has one of the most horrific backstories in canon, and the lynchpin of her trauma is taken off the playing field in the blink of an eye to advance a different storyline. a character arc like hers, or genya's, deserves space and resonance. if you got up to get a drink twice throughout the show at the wrong moment, you could have literally missed the resolution of both, that's how little space they take up. given how good these actors' performances are, and how much affection there clearly is among the cast and crew for the project, the lack of substance in the storylines you can actually see in the show makes me feel a bit jaded and cynical.

very sorry to go off on a tangent there, anon! i'm not sure i gave you a very uplifting answer. the blowing-out-of-proportion of adaptations for the sake of hedging every possible bet was a sore point for me in the rings of power last year as well, so consider all of the above as a personal shortcoming much more than like, an Intelligent Critical Assessment :')

[the-leftover-rice]

LOL

Everyone Right Now

[maddisandy]

enjoy this clip of me realizing that felicity and gorim were finally reuniting in denerim

[theha1rarch]

me @ this entire article: YEAH NO SHIT SHERLOCK

[micromasterspaceshot]

I love seeing people find out abt batfam members that aren’t Bruce, Alfred and the four male robins

I have to say, Batman has a cow. It's called Bat-cow. She has a mask.

MEDIA: BATMAN

this si the funniest thing ive ever seen. why does it have human eyes.

PERSONAL RATING: ⭐️⭐️⭐️⭐️⭐️ 5/5

[theaawalker]

Steps to Write a Genuine Platonic Relationship

1. Establish the Foundation

Define Their Connection: Decide what brings these characters together—shared history, common interests, or a deep emotional understanding.

Set Boundaries: Clarify from the start that their relationship is non-romantic, avoiding any lingering tension that could be misread as attraction.

Give Them Complementary Strengths: Show how they support and challenge each other without romantic implications, emphasizing mutual respect.

2. Shape Their Role in the Story

Decide Their Impact: Determine how their bond influences the plot—do they solve problems together, serve as each other’s moral compass, or push each other toward growth?

Avoid Romantic Clichés: Refrain from using traditional romantic tropes like longing glances, accidental physical tension, or excessive jealousy.

Show Their Value Beyond Love: Let their relationship be crucial to the story in a way that isn’t reliant on romance or tension.

3. Build Their Dynamic

Use Natural Banter: Let them have inside jokes, tease each other, or share moments of camaraderie without any romantic undertones.

Create Moments of Deep Understanding: Show how they confide in one another in ways they wouldn’t with others, reinforcing their trust and emotional closeness.

Let Them Have Other Romantic Interests: This solidifies that their bond isn’t about unspoken attraction, making it clear that romance isn’t lurking in the background.

4. Define Their Chemistry

Make Their Interactions Unique: Ensure they have a specific energy that distinguishes their bond from romantic connections in the story.

Emphasize Loyalty Over Possessiveness: They can care deeply about each other without feelings of possessiveness or unresolved tension.

Show Physical Comfort Without Romance: Casual, platonic touch like a ruffling of hair, a side hug, or a reassuring pat on the back can reinforce their connection without romantic connotations.

5. Demonstrate Their Impact on Each Other

Let Them Grow Together: Show how they influence each other’s decisions, ambitions, or emotional development without needing romance as a motivator.

Create High-Stakes Moments: Put them in situations where they rely on each other, proving their bond is just as deep as any romantic relationship.

Allow Conflicts Without Romantic Resolution: If they fight, let their reconciliation stem from their friendship and values rather than an underlying romantic interest.

6. Develop a Satisfying Arc

Decide Their Long-Term Dynamic: Whether they remain lifelong friends, drift apart naturally, or take different paths, ensure their bond leaves a lasting impact.

Showcase Their Relationship’s Meaning: Highlight how their connection was vital to their growth, reinforcing the importance of strong, platonic love.

Avoid Unnecessary Romantic Subtext: Let them stand as proof that deep, meaningful relationships don’t need romance to be powerful.

Examples of Strong Platonic Relationships

1. Film/TV Examples

Frodo & Sam (The Lord of the Rings): A loyal, emotional bond built on trust and shared hardship.

Robin & Steve (Stranger Things): A brother-sister-like friendship that develops beyond a possible hetero-romance.

Steve Rogers & Bucky Barnes (Captain America): Sibling-like love based on support, teasing, and mutual admiration.

2. Literature Examples

Duke the Guarder & Dawn Demiss (The Guardians of Camoria series): A deep friendship based on emotional intellect, trust, and shared insecurities.

Jo March & Laurie (Little Women, after rejection): A lifelong friendship that remains strong despite romantic expectations.

Harry Potter & Hermione Granger (Harry Potter series): A close friendship built on trust, emotional support, and respect without romantic tension.

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thank you, i am farkle :)

thank you @celestialgarden23 for the request :)

[fxrheisenn]

Andrus Laansalu talked about making Disco Elysium at EKA (Estonian Academy of Arts)

"Initially, the church wasn't a focal point. There were certain characters that needed to visit this location, and I asked, "Seriously, what do we have in our church?" The others replied, "Nothing at all. Our church is completely bare—just a wheel, really. It's quite basic."

That's when I decided to unleash my creativity in the design. For example, they chose to install a glass structure at the top of the church to create a reflective surface. It was like placing an optical clock up there. Therefore, one of the most crucial aspects of designing the church was ensuring the lighting was just right to create the desired atmosphere."

"Let me show you an example of Baroque architecture, which is rich in detail. We're also designing the interior of the church based on large cathedrals. However, the foundation you use might not yield the expected results, because the church itself doesn't require such intricate details. Sometimes, it's about simplifying the design."

"I used Articy for the initial scriptwriting of Disco Elysium. The image only represents a tiny fraction of the text and choice variables involved. This system was also the reason I eventually abandoned the project after a year of outlining the script and shifted my focus to becoming a sound designer. My mind struggled to keep up with the dynamic graphic rules, but fortunately, a more talented writer took over afterward."

"In terms of sound design, it's essential to develop different layers to bring out the charm of the church as a cohesive space. Although this represents only a small portion of the overall design, each layer actually requires a significant amount of time to compose the whole....... Whenever there's a shift or a change due to the dialogue itself, you need to adjust the background sounds. Each time you modify the details in the dialogue, I have to refine the background audio, ensuring that these elements build upon each other like an intricate layer of work."

"It's funny how many scenes involve characters getting smacked in the face. My job was to recreate those, so I locked myself in the bathroom with a recorder and hit my forehead until it turned red.

As a sound designer, I really dig those unsettling, drill-like sounds. So, I mixed in creepy lectures, metal scraping, moans, and cries of pain—because I just love that stuff! (laughs)

Players will be moving through all kinds of areas, so it's super important to make the sound transitions feel natural, trying to create a more immersive vibe in certain spaces.

With all the scenes featuring big cranes, you can hear them from far away, and I wanted to capture that eerie ringing in your ears. That's going to be a thing throughout most of the game. I've found ways to really mess with players while they're playing!"

"I've come across a lot of old objects (like phones and radios) that I needed to perfectly replicate the sounds. I started to become a bit of a hoarder, buying up different models of old phones whenever I found one to add to my collection. The sound effects I can simulate from them are really impressive."

"Some of the devices don't actually exist in real life—just a mix of architecture and tech. When I need to create sound effects, I first look for something similar that exists in our world, then I try to simulate what the sound and appearance of that thing might have been like a century ago.

Towards the end of the game, there's a character carrying a fuel canister. We needed the sound of the canister, so we dug one up from our garage—it had been sitting there since it was five! I realized this would make the sound perfect. So, it had been there for 50 years, and after 40 years, it finally found its purpose.

In some places, I needed unique sound waves, and recreating them was a real headache until one day I happened to walk by a swimming pool and stumbled upon an old wartime torpedo. You can rotate the torpedo's probe, and it slowly rises up, like a proud zombie head. The sounds it made were exactly what I needed!"

🙋How did you manage to get funding?

"Well, since we're in Estonia, you just need to know a wealthy person. You don't need five people—just two who can network, hang out together, and convince them to keep investing! (laughs) Back then, we constantly ran out of money and would tell them, 'Oops, looks like we spent it all! Can you invest a bit more?' That's how we made it through!"

🙋How did you all come together to make the game?

"Luck. It usually doesn't happen this way, and that's the key difference. It has to be. If not, you couldn't create a game of this scale - well, I mean in terms of budget. But creatively, Estonia definitely has writers and artists who can pull it off. With such a small population, there are a lot of quirky folks who are good friends. We were really lucky, though - lots of fortunate circumstances came together. It brought the right people together, allowing those talented fools to collaborate with us. They had experience but hadn't tackled projects of this magnitude before. So yeah, luck is pretty important!"

Lecture experience shared by 白兔YIYANG SUN on 小红书, reposted & translated by me with her permission.

[confuzing]

Ok but what if Shen Yuan and Shen Jiu were the same person.

Little YQY is used to little baby SJ being a little strange. He talks about missing 'the internet' and one night when they almost freeze to death he solemnly informs YQY that "this transmigration experience sucks, 0/10 would not recommend."

As they grow SJ stops talking about odd things, but since he never explained about his past life to YQY he doesn't realize SJ is forcing himself to forget those memories of being warm and safe and happy because they hurt too much now when he is none of those.

The System is still there if course but since LBH isn't even born yet it's in low power mode. But that night locked in Qiu Manor after YQY leaves it pops up with a notification he's finished the 'Sorrowful Parting' quest and he loses it.

He alternates between insisting it doesn't exist and demanding to know why it only shows up when something bad happens to him. The System explains this is all necessary character development before he meets the main character.

SJ rages, not because he's not the main character but because he apparently needs to suffer for them, this person he's never met. Eventually the System turns off all notifications except essential ones, and that at least leaves SJ mostly alone in his own head.

And he takes that buried ache of his past memories and that he was apparently born to suffer and uses them to save himself when YQY fails him. Even though he promised. And he's fine- look, he's a Peak Lord! He's fine.

Until LBH turns up at the peaks, the System lights up for the first time in a decade, and SJ looks at this little boy and hates him. SJ can't see him without thinking about all the hurt he suffered, which the System insists was necessary for this boy's story.

So he does all those horrible things to LBH that he railed about as SY a lifetime ago and doesn't regret it. (PIDW is mostly lost to him, buried under the trauma, he doesn't know who LBH is, or who he is)

Until the qi deviation, which wipes all his memories except the ones he has buried. So he feels like he's a different person. He thinks he's transmigrated in late because he can't remember being 5 and teaching YQY carmeldansen.

A week after the deviation YQY hears SJ mutter something about Google and he relaxes, he does recognize this SJ after all.

Meng Mo pulls the memories out of SY's head after all. For all that SY draws the line between himself and SJ as different people he still remembers SJ's memories. But crucially not the ones from when he was little where his past and current lives overlap the most.

Sometime after the series ends SQQ is humming something modern- my heart says 'Never Gonna Give You Up'- and YQY casually mentioned he's always liked that one most of SJ's songs.

SQQ: What songs?

YQY: The ones only you know. You used to sing them all the time when you were little.

SQQ's head is spinning and he finds some privacy and questions the System which confirms he did in fact transmigrate as a baby like SQH did.

The memories come back slowly after that. He remembers telling LQQ he'll kill him after a bad fight, street kid him trying to explain to YQY what a T-Rex is... exactly what was going through his head when he dumped a cup of hot tea on an orphan he'd just met.

And SY has to deal with the fact that yes actually, that was him. That wasn't some other asshole. It's him, he's the asshole. Maybe that was the worst possible version of himself, maybe he got a second chance and changed for the better - but it was still him, and he's still capable of being that man again if he isn't careful.

[satellitesnotstars]

FALL OUT BOY COMING TO MY STATE FOR 2OURDUST W I T H T H E M A I N E FUCK YEAH